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Whore Train
Film & TV: Pop Tarts (The Boston Phoenix . 10-27-97) Pop Tarts From Fallen Woman To "Pretty Woman," Hollywood's Love Affair With Hookers By Peter Keough OCTOBER 27, 1997: "Whatever you desire," is the slogan for Fleur de Lis, the agency in L.A.Confidential that provides its clients with call girls "cut" to resemblesuch movie stars as Rita Hayworth and Lana Turner. It's an appropriate mottofor Hollywood itself, which has made its fortune by cutting images to fulfillits audience's desires, offering the illusion of love, life, and death to bevicariously enjoyed for the price of a ticket. Prostitution in Hollywood is asanitized, sanctioned whoredom where stars transform themselves into theforbidden or inaccessible dreams, wet and otherwise, of their voyeuristicclientele. Small wonder then that the world's oldest profession has always fascinated theyoungest art. From Gloria Swanson in the silent Sadie Thompson (1928) toKim Basinger as the Veronica Lake wanna-be in L.A. Confidential , themost glamorous of Hollywood's beauties have prostituted themselves -- perhapsin an effort to elevate the institution that uncomfortably resembles their own.They've allowed Hollywood -- and us -- to have it both ways: we can reject theforbidden fruit even as we ogle it on screen. It's a lot safer and cheaper tosavor, say, Julia Roberts's charms in Pretty Woman (1990) and rejoice inher fairytale redemption than try to achieve the same result on Berkeley Streeton a sordid Saturday night. The body of films about prostitution reflects our culture's uneasy andobsessive love/hate affair with the ultimate commodity. It's a catalogue of thefantasies -- not all of them male adolescent -- that adorn prostitution likecheap perfume and tawdry glad rags. One of the earliest and most persistent isthat of the fallen woman saved from her fate by the love of a good man. In theracier years of the classic studio period, before the 1934 Production Codeeliminated any reference to the unwholesome facts of life, Hollywood was freeto call a whore a whore and not label her with euphemisms like "party girl" or"actress." The studios were still obliged, however, to reform her or elsepunish her for her sins -- and ours. In Josef von Sternberg's Shanghai Express (1932), Marlene Dietrich's"Shanghai Lili" becomes a high-class courtesan cruising the China coast afterbeing dumped by her stuffy lover, British Army officer Clive Brook, for testinghis jealousy. They meet years later on the title train, which is then seized byrevolutionary warlord Warner Oland. Dietrich gets a chance to make up for herrough trade and tough-minded independence by offering herself to Oland inreturn for her ex-lover's eyes, which the warlord, in a Freudian moment, hasthreatened to put out. The timely intervention of another hooker (playedseductively by Anna May Wong) discloses and prevents Dietrich's sacrifice, andall ends respectably. Not so in John Cromwell's adaptation of Somerset Maugham's Of HumanBondage (1934). Bette Davis, in the role that made her a star, plays thewaspish, consumptive waitress who seduces aspiring artist/physician LeslieHoward. As her treachery and bitchiness intensify, her health and professionalstanding decline; she winds up as a broken streetwalker dying in a poorhouse.It's a chilling lesson not to cheat on pallid, club-footed dreamers; the ironyis that Davis is far more attractive, if not more sympathetic, than Howard. Like Dietrich in Shanghai Express , Hollywood's women of little virtueshow a strength, independence, and allure that's more appealing than appalling.Especially when compared with the milksop representatives of respectablesociety. That's why hookers so often serve to send up the hypocrisy ofestablished morality. In Rain (1932), Lewis Milestone's remake of Sadie Thompson , Joan Crawford plays a South Seas trollop whosewantonness exposes the repressed desire behind puritanical preacher WalterHuston's intolerance of the flesh. In Clarence Brown's adaptation of EugeneO'Neill's Anna Christie (1930), Greta Garbo talks for the first time onscreen and earns an Oscar nomination for her efforts as the fallen young womanof the title who returns to her ne'er-do-well seafaring father after beingabandoned 15 years before. What she did all that time to support herself isrevealed after a young sailor proposes to her -- but she's vindicated and thepatriarchal society that lowered her is condemned. Prostitutes became personae non grata once the Hays Office took over inthe mid '30s, so Hollywood called them showgirls, or the non-specified femmesfatales of film noir, or, in the notorious case of From Here to Eternity (1953), USO workers. With the easing of moral restraints in the '60s, however,hookers once again could speak their name on screen, ushering in an onslaughtof films whose changing take on the subject of prostitution is a coy history ofour society's attitudes toward sex, gender, power, and money. Elizabeth Taylor and Audrey Hepburn started things off timidly enough with Butterfield Eight (1960) and Breakfast at Tiffany's (1961), respectively. In Daniel Mann's diluted adaptation of John O'Hara's Eight , Taylor plays a "model" with a taste for rich men and late hours;she will abide being called a tramp, but she won't accept the $250 hersocialite lover Laurence Harvey leaves her. Neither will he leave his sexless,devoted wife for her, and Taylor is duly punished for offering Harvey andaudiences a sexy alternative to drab middle-class existence (she would berewarded later, with an Oscar). As Truman Capote's Holly Golightly in BlakeEdwards's Tiffany , Hepburn evades, briefly, the strictures ofrespectable housewifery by flittering on the fringes of Manhattan society,earning her keep from men by, it would seem, being witty and fascinating. Inneither film are the nuts and bolts of the actual business referred to: theheroine's lifestyle merely seems somewhat mysterious, maybe a littledepraved. But certainly enticing -- for women as well as men. There's the great clothes,the idle luxury, the independence (just like a James Bond film); there's alsothe lure of sexual experimentation, self-abasement, maybe even romance.Hollywood in the '60s contented itself with suggesting the forbidden appeal ofprostitution, but European filmmakers like Jean-Luc Godard with 1962's Vivresa vie (and, in a sense, every film he's made) and Luis Buñuel withhis deliciously perverse 1967 classic Belle de jour exploredprostitution both as a manifestation of repressed desire and as an allegory ofthe movie industry in particular and capitalist society in general. American filmmakers tend to be more idealistic, if not more naive. Especiallywhen they're trying to be hip, as they were in the late '60s and early '70s.One prostitution myth that evolved in this period was theknight-in-shining-armor scenario, in which the hero rescues the heroine fromthe wicked pimps who enslave her. In so doing he also frees himself from allhis unacknowledged inhibitions, which makes for a happy or at leastclarifyingly tragic ending. In Herbert Ross's The Owl and the Pussycat (1970), nerdy would-be writer George Segal is tossed together with unbearablyshrill call girl and actress Barbra Streisand. Think Pygmalion : heimproves her vocabulary, she screws him and teaches him how to be himself. The pattern is much the same if dicier in Alan Pakula's Klute (1971),as small-town policeman Donald Sutherland squires big-city call girl Jane Fonda(another hooker role that turned Oscar gold) for information about thedisappearance of a prominent acquaintance. His tight-lipped repressivenessdoesn't long withstand Fonda's frisky savoir faire, and his straight-arrowvirtue proves more therapeutic to her than her psychiatrist does. The formulagoes sour, however, in the uncompromising assault of Martin Scorsese's TaxiDriver (1975), in which Robert De Niro's lumpen Sir Galahad fuses squalorand chivalry to save an unwitting, pubescent Jodie Foster in one of cinema'smost astounding scenes of sparagmos . Too bad the knight syndrome didn't come to an end with Travis Bickle's killingspree -- we might not have had to endure the demeaning, vastly popular treacleof Garry Marshall's Pretty Woman (1990). Richard Gere is a corporatebuccaneer who dismembers companies and sells the fragments. Julia Roberts ismore in the corporeal line, and their chance merger is mutually beneficial asRoberts learns which is the proper fork to eat with and Gere learns to have agood time and stop being pissed off at his father. Needless to say, the brutal realities of both businesses are airbrushed --what's the deal with Roberts's drug-addict friend, for example? And yet thefilm is quite matter-of-fact about prostitution's capitalist nature. As suchit's another in a long line of films that explore the profits and losses ofwhoring. Leave it to Billy Wilder to come up with one of the first, the saucy ifoverlong Irma La Douce (1963), in which gendarme Jack Lemmon loses hisjob and his heart to Shirley MacLaine's Parisian trollop of the title. On therebound, he becomes her pimp, but since he cannot bear to have her sleep withanyone else, he disguises himself as a wealthy English lord who just wants toplay solitaire. The lord becomes her sole customer, and in order to pay her --in fact himself -- Lemmon must work nights in a meat market. After taking onthe roles of capital, labor, and the aristocracy, he's left too exhausted toenjoy the object of his desire. A similar critique of capitalism might be read from Robert Altman's McCabe& Mrs. Miller (1971). At the turn of century on the West Coast,entrepreneur and gambler McCabe, played with raffish insouciance by WarrenBeatty, joins forces with brothel keeper and opium addict Mrs. Miller, playedby a luminously besotted Julie Christie. Together they transform a sleepybackwater into a frontier boomtown, only to attract the interest of corporatehonchos back east. The film concludes with one of cinema's greatest sequences,one that is simultaneously lyrical, tragic, and epic -- a rapturous and somberimage heralding the end of the frontier spirit and the beginning of Americancorporate capitalism. In the age of Reagan, though, the corporate types are the heroes, not the badguys, so pioneer McCabe gets replaced by preppie self-promoter Tom Cruise in Risky Business (1983). Left home alone in his ritzy Chicago suburb,Cruise avails himself of the services of hooker Rebecca De Mornay and in shortorder turns the family home into a brothel. That annoys the lower-class scumwho are the girl's pimps, and after some misfortunes involving a Steuben eggand a Porsche in Lake Michigan, she gets reformed and he learns a lesson beforeheading off to Princeton, presumably to learn to become a corporate raider likeRichard Gere. Ron Howard's half-witted Night Shift (1982) plays the same theme offthe old pairing of love and death. Henry Winkler is a morgue attendant who'stempted by moronic colleague Michael Keaton to take advantage of the slowlate-night shift by setting up a brothel among the stiffs. All works well --the boys make money and the girls get health benefits -- but Howard, likeLemmon in Irma La Douce , falls in love with the merchandise, starstablemate Shelley Long. Then there's the requisite threat from thelower-class-scum pimps that want in on the action. Not to worry, though: thetrue love of heart-of-gold Long enables Winkler to shake off his middle-classrepressed self and his respectable eating-disordered fiancée and haveeverything his way (his sending back a sandwich he didn't order is a dramatichighlight). Recent Hollywood efforts have taken thisrespectable- folks- turning- brothel- keepers to new smarmy heights. Prostitutionbecomes not just as another business but a reflection of and cure-all for thedysfunctional family. In Mighty Aphrodite (1995), Woody Allen ickilymirrored his own tabloid-blazoned scandals as the father of an adopted childwho tracks down its natural mother in a misguided attempt to heal his troubledmarriage and tweak his Oedipal curiosity. That the mother is a whore -- ascatological Mira Sorvino winning an Oscar by imitating Minnie Mouse -- says asmuch about Allen's trouble with women as Hollywood's inveterate misogyny. The unholy mother/whore combination can be seen in flagrante in RichardBenjamin's Milk Money (1994). A trio of scampish suburban kids puttogether a hundred bucks in change and ride their bikes to the big city. Therethey employ bimbo Melanie Griffith to show them her tits and give them a ridehome. One of the more annoying tykes is determined to hook Griffith up with dadEd Harris, a widower devoted to saving "the wetlands." The traditional avengingpimp turns up, of course -- not lower-class, this time, but Eurotrash BritMalcolm McDowell. Yet this marriage of suburbanite complacency andtransgressive urban sass is as inevitable as Griffith's cleavage. Although vastly inferior, Milk Money is reminiscent of Jonathan Demme's Something Wild . And not just because both feature Melanie Griffith in asundress. In Demme's masterpiece, she's Lulu, the spitting image of LouiseBrooks's archetypal prostitute from the Pabst silent film of the same name.(This latter-day Lulu's profession is left ambiguous.) She pounces ondown-on-his-luck corporate executive Jeff Daniels, who's lost his wife,furniture, and very likely his job when Lulu lures him through the HollandTunnel and on the road to an America Charles Kuralt never encountered. With RayLiotta in his first and finest performance as a psychopath who shows Daniels aglimpse of the dark side, Something Wild is exactly that, a rollickingvoyage through comedy and melodrama that discloses the savage face beneathgenial stereotypes. Demme's film also reminds us that, at their best (which is not often),Hollywood's movies about prostitution serve as a bridge -- in the case of Something Wild , a tunnel -- between the respectable and the forbidden,the repressed and the desired. In Leaving Las Vegas (1995), NicolasCage's sodden screenwriter abandons the glitz of LA for the desert of the titletown. There, at the bottom of cases of bottles, he finds call girl ElisabethShue. They fall in love, but neither reforms the other: he'll drink himself todeath; she'll sell herself until she's no longer desirable. They offer us noconsolation, and neither does the film. It takes the sweet beauty and theangelic attentions of Shue, in her Oscar-nominated performance, to make anaudience embrace those brutal truths. Which is Hollywood's way of showing thata hooker's heart of gold is in fact our own heart of darkness. Prostitution Theory 101 - A Boston Phoenix article on hookers The Boston Phoenix's Movies Archives Peter Keough Archives Film & TV: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 © 1995-99 DesertNet, LLC . The Boston Phoenix . Info Booth . Powered by Dispatch
Bling MySpace
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Windows Fanatics Linux Fanatics OS X Fanatics IT Professionals Web Developers Problem Solvers Tech News Watch RSS & Atom Tips Hot Downloads Exclusive Focus Bargain Hunter DVD Deal Center Technobabble Game Invasion Hardware Help Media Center Mobile Lifestyle Net Patrol Search Engineer Political Geeks Hot Searches from Lockergnome.com | bho demon | mirror magic deluxe | Download psp Games For Free | usbehci.sys | huntsville crack | destealther | shadow of the colossus walkthrough | mystery case files huntsville | Magic Match | Muvee Auto Producer | Mirror Magic Deluxe | Destealther | Free Mp3 Music Downloads | C00D109B | yamaha ds1 | New Downloads » RSS Metasearch » UsenetGrab! » Snail Mail » NitroRAM » Prince of Persia: The Two Thrones Walkthrough & Strategy Guide » Fish Tycoon » Sunbird Calendar » DupKiller » DivX Create Bundle (incl. 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This means ringtones generated one full eighth as much money as the rest of the worldwide music industry, and about a third of the US market. Ringtone revenue constitutes some of the best news record executives have heard in a while. But before the champagne flows, these executives need to remember that people usually buy ringtones of songs they've already purchased. And with the right tools, people can actually transfer music from their own music collections to a growing number of MP3-capable phones. They need to remember that not so long ago, people struggled with ripping CDs... and now, it's just about as easy as playing them, for the average computer user. Ringtones will follow the same trend, to a certain extent, meaning that the market will be split between those services that offer ready-made ringtones for download and those developers that work on software to turn music into ringtones. As for secure files, you can't use those for ringtones, and you probably never will be able to, since music stores would rather sell ringtones and songs separately (cha-ching). It's definitely easier to pay for a new ringtone on your phone than it is to create one from a song in your music collection. But when you consider that most services offer a fairly limited catalog, ripping your own ringtones becomes a more attractive option, especially if your tastes run toward the obscure. Most people have music collections that already represent a near-perfect pool of songs from which to choose ringtones. That's why I predict the ringtone market won't be the cash cow the music industry thinks it will be. Become "Lord of the Ringtones." As a bonus, I'm going to show you a few ways to create your own ringtones so you can hear sample songs from tunes in your own record collection. It can take a little bit of elbow grease, especially if your phone doesn't support MP3 ringtones. 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Nix The Bling Bling From The Ring Ring (Mobile) Find | Gnomedex | Mobile | Network | eBooks | Shop | Domains | Arcade | Sponsor | Download | Help | Join | MP3s | Home E-mail Newsletters! Windows Fanatics Linux Fanatics OS X Fanatics IT Professionals Web Developers Problem Solvers Tech News Watch RSS & Atom Tips Hot Downloads Exclusive Focus Bargain Hunter DVD Deal Center Technobabble Game Invasion Hardware Help Media Center Mobile Lifestyle Net Patrol Search Engineer Political Geeks Hot Searches from Lockergnome.com | bho demon | mirror magic deluxe | Download psp Games For Free | usbehci.sys | huntsville crack | destealther | shadow of the colossus walkthrough | mystery case files huntsville | Magic Match | Muvee Auto Producer | Mirror Magic Deluxe | Destealther | Free Mp3 Music Downloads | C00D109B | yamaha ds1 | New Downloads » RSS Metasearch » UsenetGrab! » Snail Mail » NitroRAM » Prince of Persia: The Two Thrones Walkthrough & Strategy Guide » Fish Tycoon » Sunbird Calendar » DupKiller » DivX Create Bundle (incl. DivX Player) » Post2Blog » SWF Scout » the TAB Latest Gada.be Searches emily stern pedo angelina jolie angelina jolie s50h1 xv6700 pq dvd to ipod video converter keygen video prince of persia nip slip Nix The Bling Bling From The Ring Ring 12.07.2004 @ 08:38 PM PT | Marc Erickson | Comment | Send to Friends | Google It The Legend of the Ringtone Is Way Hardcore Record execs are all fired up about ringtones… and with good reason. Ringtones of all kinds (monophonic, polyphonic, and real music) are selling like hotcakes to an ever-expanding market of cell phone users. (Next column: Who buys all those hotcakes?) As for cell phone users, many of us happily pay more for a good ringtone than we do for a better-sounding version of the complete song, as odd as that might seem. The world liked ringtones to the tune of $4 billion in 2004 ($300 million from the US alone). This means ringtones generated one full eighth as much money as the rest of the worldwide music industry, and about a third of the US market. Ringtone revenue constitutes some of the best news record executives have heard in a while. But before the champagne flows, these executives need to remember that people usually buy ringtones of songs they've already purchased. And with the right tools, people can actually transfer music from their own music collections to a growing number of MP3-capable phones. They need to remember that not so long ago, people struggled with ripping CDs... and now, it's just about as easy as playing them, for the average computer user. Ringtones will follow the same trend, to a certain extent, meaning that the market will be split between those services that offer ready-made ringtones for download and those developers that work on software to turn music into ringtones. As for secure files, you can't use those for ringtones, and you probably never will be able to, since music stores would rather sell ringtones and songs separately (cha-ching). It's definitely easier to pay for a new ringtone on your phone than it is to create one from a song in your music collection. But when you consider that most services offer a fairly limited catalog, ripping your own ringtones becomes a more attractive option, especially if your tastes run toward the obscure. Most people have music collections that already represent a near-perfect pool of songs from which to choose ringtones. That's why I predict the ringtone market won't be the cash cow the music industry thinks it will be. Become "Lord of the Ringtones." As a bonus, I'm going to show you a few ways to create your own ringtones so you can hear sample songs from tunes in your own record collection. It can take a little bit of elbow grease, especially if your phone doesn't support MP3 ringtones. But even if your phone only plays monophonic ringtones, you too can churn out your own 'tones. Note: Here are two lists of MP3 ringtone-compatible models. They're a good starting point for determining real music ringtone compatibility, but no matter which service you use, check their site to make sure your make and model qualify for what they're selling. SnipNSend's text list RingtoneRipper's Web list Lockergnome's Tech News Watch Multiple Browsers Window Injection Vulnerability Nix The Bling Bling From The Ring Ring Thunderbird 1.0 released 'E-junk' recycling still in its infancy Trojan disguised as Lycos' antispam screensaver IM threat service pledges cooperation Low-cost Video Conferencing Technologies: Market Update Spammers strike back at Lycos Shop Online This Year For That High Tech Geek Trend Micro gives away mobile antivirus software AMD works to chill out Opteron Plastic beats paper as check-writing declines Tool connects 'Halo 2' with ... Excel? 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Hot Searches from Lockergnome.com | bho demon | mirror magic deluxe | Download psp Games For Free | usbehci.sys | huntsville crack | destealther | shadow of the colossus walkthrough | mystery case files huntsville | Magic Match | Muvee Auto Producer | Mirror Magic Deluxe | Destealther | Free Mp3 Music Downloads | C00D109B | yamaha ds1 | For Further Consideration UltraMouse : Save your eyes and hands with UltraMouse! With this application, you'll be able to conserve your effort on the following functions - are all commonly used ones that you perform thousands of times every day: closing a window, opening the Start Menu, maximizing/restoring a window, going to the end of the document, activating IE's address input mode, and so many more. This software adds many functions to your mouse, some of which can be achieved... 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